HURT

I should have been in Louisville, Kentucky, this night, reporting on my good friends in Stereoside (there’s an interesting story associated with that as well); instead, my friend and fellow shutterbug, Shannon Lindsay from MUEN Magazine, asked whether I would like to cover a band from Virginia called Hurt; of course, I seized the opportunity, we were heading to Johnson City, TN, to a club called Capone’s.

**Please note that we will add more images from this show as time permits.

Megadeth: 2009 Endgame Tour

A few interesting stories came about when I covered the 2009 Megadeth Endgame tour stop in Knoxville, Tennessee, at the well-known Velarium. Megadeth headlined the show, with Machine Head and Suicide Silence as the opening acts.

The Knoxville show was scheduled for November 22, but I rushed to request credentials on the 19th. Usually, you should ask for access at least a week in advance, so I knew I might get turned down. My main contact at Roadrunner Records, Megadeth's label, helped me get approved to cover Megadeth—just in time.

On the day of the show, I got to the venue just in time to cover Megadeth, despite my time constraints. I was disappointed, but I was alright with it.

The press pit usually runs along the stage and is about four feet wide in small clubs, sometimes even less. For Megadeth, though, the center of the pit was filled with some of the band’s equipment, so I couldn’t move around to get different shots. I thought I knew that Dave Mustaine almost always sang facing his left, but I ended up on his right and couldn’t switch sides in time. I made the best of it and, once again, tried not to stress.

There were about four or five photographers in the pit, and I recognized a couple as locals. We each found a small spot to work from, hoping to get the best shots we could. There’s one thing I’ve never understood—it happens at a lot of concerts. Some women feel the urge to pull up their shirts and expose themselves to everyone nearby. This happened to me and one of the local photographers while we waited for the show to start. A young woman behind us tapped the local guy on the shoulder. He turned around, she gave him a big grin and said hello, then did the same to me. I guess she wanted more attention, because she tapped us both again on the shoulder, and when we turned around, she lifted her shirt to her chin with a huge smile. We weren’t shocked or offended; we just laughed loudly and turned back around. Then the show began.

At most events I photographed, the rules were always the same: shoot for three songs, no flash, then you were finished. Usually, someone would lead you off the main floor to leave the venue. Sometimes, you could store your gear in the main office and stay to enjoy the rest of the show. This time, when we were escorted out of the photo pit, none of that happened. Security just let us walk around the edge of the crowd, so I did. I even made my way to the middle of the crowd, on Dave’s left side, and managed to get some better photos. It turned out to be an amazing evening.

CONNECTIONS:

Megadeth Official Site

Megadeth - YouTube Channel

Megadeth - Apple Music

Megadeth - Instagram

Megadeth - Facebook

In My Darkest Hour (Limited Edition Book) by Dave Mustaine

Galgano Records Distributors: 1991

Galgano Records, 4001 North Ravenswood Avenue,

The last place I remember Galgano Records being located was at 4001 North Ravenswood Avenue in Chicago. Right at the corner of Irving Park Road and Ravenswood Avenue. We occupied the entire first floor, and hardly anyone else used the building. For nostalgia, the first spot I remember was at 4125 West Armitage Avenue back in the 1970s; it was located on a whole city block between Kedvale and Keller on Chicago’s west side. I worked there after school and spent my summers working full-time.

The group I remember best is the one from Ravenswood Avenue. We felt like family. Our company picnics were always held at John Galgano Senior’s summer home in Lake Geneva, Wisconsin, and they were big events.

We were one of the largest music distributors in the Midwest. Everyone I worked with knew all the artists’ catalog numbers and their labels by heart. We were all good at our jobs.

We had tons of record release parties, concerts, and promotional vinyl and CD’s weeks before the official release dates. I spent plenty of time backstage, hanging with people from the record label and with band members. It was always business, never any nonsense—I promise (fingers crossed).. These kinds of events inspired me to get into music photography. In fact, my boss’s son, John Galgano Jr., offered to buy me my first camera, a used Pentax Z10n with three lenses, in 1991.

John Galgano Jr.

James Galgano

Maria

Suzie

Doug Morris

Paul

Brian

Paul Steinbrunner: Mr. Rolling Stones Catalog

Jennifer

Rick

John Vaughn

Places: The Great Smoky Mountains: Walden Creek to Cherokee

From our cabin in Walden Creek to Cherokee, North Carolina, we drove 33 miles of scenic road to places like Sugarland's, Chimney Tops, and the highest peak in the Smoky Mountains, Kuwohi, formerly known as Clingmans Dome. The U.S. Board of Geographic Names restored the Cherokee name Kuwohi on Wednesday, September 18, 2024, and voted to change the name of the highest point in Great Smoky Mountains National Park from Clingmans Dome to Kuwohi, a Cherokee name for the mountain. The tower at the top of Kuwohi is at 6,643 feet elevation, making it the highest point in the park.

The balcony view from our cabin in Walden Creek is breathtaking. This photograph was taken with a Nikon D800 and a Nikon 20-35mm f/2.8 lens. I combined five carefully selected images out of 20, which varied in exposure, then stacked them in Lightroom with minor edits in Camera Raw. The result highlights the serene landscape around the cabin.

I spotted this curious Coyote in Cade's Cove, and I believe it was actively searching for a handout, as it stuck around for quite some time, showing little hesitation in my presence. Shot this image with a Sony 7RII with a Sony G master 135mm f1.8.

From the top left to the right, the photos were taken in Cades Cove. My wife captured a doe right beside our car with her iPhone 14; it almost reached the passenger window. Meanwhile, I snapped a shot of a Tom by the roadside. The most astonishing encounter was with a Bull Elk near the Oconaluftee Visitor Center, close to Cherokee, North Carolina. The mating season in September probably explains why we heard a Bull Elk's calls near our cabin early in the morning. I managed to capture this incredible moment with my iPhone 14 Pro Max.

Road Stories : That One Show I Regret Missing Is........

James Brown, there I said it. No build-up to what this blog is all about, just "BOOM", there it is, I guess the image above gave a hint to who it was. It was July 5, 1996. The show was to be at the Petrillo Music Shell in Grant Park in Chicago (I was still living there … That's the one show I had been eagerly anticipating but had to miss. '96 was the second year Alligator Records Photographer Eugene Kimmons would toss me a bone. The year before (because of him), I covered the 1995 Chicago Blues Festival featuring Blues greats such as Luther Allison, Otis Rush and Eddie Campbell. Eugene, a mentor and friend, always thought I was capable of becoming a music photographer. However, I was much harder on myself and my abilities, both as a visual artist and more so as a photographer. So, back to the "why," this is the one show I regret missing. I remember I had my gear with me at LaSalle Photo, where I worked at the time; it was at least a 40- to 45-minute ride by bus and train, and on a good day, it was about an hour when there were festivals in the downtown area.

Before I departed for the show, I had been nursing a migraine all day long. My 30s were a time in my life when I started to get migraines; they'd come and go, and I'd go about my day, but it was also in my 30s that the frequency and intensity would get worse over time. This debilitating condition was one of those times it was not going to let up, and it left me totally incapacitated. Still, I decided to try and make the James Brown show later that day. I was able to convince my boss to let me leave early that day, all the while thinking to myself that the sun was too bright, and I was feeling sick to my stomach. Despite my condition, I made the choice to go to the show. I always made it a habit to arrive early for any event I was involved in; it helped me plan for the day. To my surprise, the press table was already open, even though I still had a few hours to kill. I made my way to the line.

My migraine was worsening; I was light-sensitive, nauseous, and dizzy. I knew my blood pressure was likely being affected as well. Soon, I found myself next in line to get my credentials for the show. At that moment, I informed the staff that I wasn't feeling well and decided to head home. Looking back, the only show I ever regretted missing was James Brown. It's a regret that still lingers—a missed opportunity that I can't help but think about from time to time. I even came across an article by Rick Regar that appeared in the Chicago Tribune in 1996, which reminded me just how special that day was.

JAMES BROWN STILL JOLTS - Chicago Tribune

Road Stories : Black Stone Cherry, 2009 vs 2011

The 2011 Carnival of Madness tour was the last tour I photographed. Health issues played a significant role in my decision to step back after over 20 years in the industry. I attended the tour in Huntington, WV, which felt fitting since I had decided to put down roots in West Virginia two years prior. The Carnival of Madness marked my second attempt at photographing Black Stone Cherry, and I successfully captured it. My first attempt was in 2009 at the newly built Corbin Arena in Corbin, Kentucky, just a 25-minute drive from my home in Williamsburg, KY. Unfortunately, my credentials for that show never materialized. I had coordinated with their record label to set everything up, and Roadrunner Records had always been supportive of my work. Amy, Lily, and Jessica from the label were invaluable; they ensured I was on the list at will call whenever I arrived at a venue.

However, when I arrived in Corbin, I waited over two hours in the will-call area for my credentials to be verified, but the venue staff could not locate the credentials list. This situation was not a reflection of Roadrunner Records, as I had always enjoyed excellent communication with them. It was also unrelated to Black Stone Cherry, their management, or the band itself, as they had no knowledge of my supposed attendance. The issue rested squarely with the Corbin Arena and its staff.

Lost lists and miscommunication among staff at a venue are common occurrences. However, it raises concerns when those working the door allow people to enter without tickets. I experienced something similar at a .38 Special concert I was supposed to photograph the previous year in Corbin. To be fair, 2009 wasn't a great year for the city of Corbin overall.

So, was it worth the wait to finally photograph Black Stone Cherry after two years of dealing with the Corbin situation? My answer is a resounding yes! The show was beyond anything I could have imagined. I had a hard time keeping up with their electrifying performance. After the show, I saw the band members as they headed to a meet-and-greet. I was sitting on the ground, dripping with sweat and breathing heavily into a towel as they walked by. I managed to gather my strength and exclaimed, "Great show." One of the band members replied, "Are you alright?"

As for my final thoughts, I am not bitter or angry about my first attempt to cover a Black Stone Cherry concert. Instead, I am grateful for all the opportunities I've had over the years, whether good or bad. These experiences have become my stories.

Web : www.blackstonecherry.com

Gear : Nikon D200 w/Tokina 20-35mm f/2.8

All images edited with Capture One Pro 20

*Color versions of some of the images can be found in the archives by clicking here. [Archives]

Road Stories: Dude Don't You Need Your Camera

Rockstar Mayhem Festival, Raleigh, North Carolina, August 3, 2010. Though I could choose many stories from this event, one in particular stands out, and it goes something like this. First off, it was incredibly hot that day, I mean really hot, around 92 degrees, and the shade offered very little to no comfort, especially when you had so many bodies moving between the two side stages that were right across from each other — the Jagermeister stage and the Silver Star stage. These stages were offset from the main stage and the press lounge, creating one huge mosh pit as the bands performed from one stage to another. 1:00 pm on one stage, 1:25 pm on the other, 1:45 pm back again, back and forth.

In the press pit (side stage) Justin Hagberg of the band 3 Inches of Blood, photo by Brian Cade

Gear: Nikon D200 w/Tokina 20-35mm f/2.8

In the press pit (side stage) Jim LaMarca of the band Chimera, If you look at the bottom left, just above the camera shown in the image, you’d see my skinny ass; photo by Jay Beadnell. owner/photographer at Stageshotz photography, Raleigh, NC , Image used with permission.

I met up with fellow photographers Jay Beadnell, Graham Denzler, and Jim Green, all residents of North Carolina, and our good friend the late Jason Kotas of New York. This was the first time we had met. We all decided months in advance to meet up in one city to photograph Mayhem Fest and hang out. All of us were either shooting for a major publication or an underground rag, which was my comfort zone.

Back and forth, back and forth, across the lot from where the two side stages faced each other. By this point, I had already covered In This Moment, 3 Inches of Blood, Chimera, Shadows Fall, Norma Jean, and Hatebreed on the side stages. On the main stage, there was Lamb of God, Korn, and Rob Zombie—only one band left: Five Finger Death Punch. I really tried to stay hydrated throughout the day. I was drenched in sweat, tired, and actually looking forward to the festival being over.

We were once again sitting in the press lounge, waiting for the event staff to escort us to the main stage one last time. All I remember is everyone talking, everything moving in slow motion. All I could do was melt into my chair at our table and try to get my bearings back into focus. Then I saw everyone standing and leaving the table. I guess it’s time to shoot the last band. I got up and started to follow our group to the main stage when my good friend and fellow photographer Jason Kotas said, “Dude, don’t you need your camera?” I was so tired and out of it that I didn’t realize I had left all my gear on our table in the press lounge.

Back and forth, back and forth, across the lot from where the two side stages faced one another, I had already covered In This Moment, 3 Inches of Blood, Chimera, Shadows Fall, Norma Jean, and Hatebreed on the side stages. There was Lamb of God, Korn and Rob Zombie on the main stage, only one more band to go, Five Finger Death Punch. I tried to stay hydrated throughout the day, but I was drenched in sweat, tired, and looking forward to the festival being over.

We were once again sitting in the press lounge, waiting for the event staff to escort us to the main stage one last time. All I remember at this point is that everybody was talking, everything was moving at half-speed, and all I could do was melt into my chair at our table, trying to get my bearings back into focus. Then I saw everyone standing and leaving the table, I guess it’s time to shoot the last band. I got up and just started to follow our group to the main stage, we were just outside the press lounge when my good friend and fellow photographer Jason Kotas says to me, “Dude don’t you need your camera”, I was so tired and so out of it that I didn’t realize I had left all my gear on our table in the press lounge.

Five Finger Death Punch images by Brian Cade

Web : www.fivefingerdeathpunch.com

*3 Inches of Blood images by Brian Cade, Gear: Nikon D200 w/Tokina 20-35 f/2.8

*Five Finger Death Punch images by Brian Cade, Gear: Nikon D200 w/Nikkor 80-200 f/2.8

*Image of Jim LaMarca (Chimera) by Jay Beadnell of Stageshotz.com used with permission

Road Stories: My First [Paid] Live Gig Pt. 2 of 2

1996 was supposed to have been the year I moved out of Chicago, I had already quit my job with Kodak and was actually pretty excited of a change of scenery, but things happen and I was going to be in Chicago one more year before finally relocating in the winter of 1997.

I pushed myself more than ever to get in more studio time to make ends meet, I had already been Ronald Anthony’s [my mentor] location/studio assistant in Park Ridge since ‘94, and the desire to photograph bigger events was becoming more and more intense than ever before.

I spent my free time trying to make new connections and reconnect with some people in the music industry, mostly in the rock n roll scene. Namely with some of the indie record labels; Roadracer [later to become Roadrunner], Nuclear Blast. along with radio station WWBZ [TheBlaze] later to become Rock 103.5. There were a couple of things that played against me at the time, 1. most people I had known in the industry during this time didn’t stay with their label but for only a few months at a time, there were always new faces when the A&R and sales rep people would come around. and 2. everyone was either wanting to photograph the Rock scene or had a pretty good hold onto there spots. So I needed a new game plan, I needed to do something different, think outside the box. Then it hit me. Country music, nobody was covering this genre in Chicago, though it was picking up momentum and hitting the mainstream quite quickly.

Marty Stuart, Country Fest, 1997

WUSN [US99] it did look to be a good fit for me, so I asked around and though it took several months of cold calls I Found CBS Broadcasting had recently acquired the station, which brought in a new station manager (Alan Sledge)  program director (Steve Lee), a good opportunity for me to make a connection and present my proposal in becoming their event photographer. So at this point, I started to write out many key points for what I had to offer; such as meet and greets at events, live images of the events (both crowd and stage) and on the air coverage of guests.

I believe it was late winter or early fall in 1996 that I got the nerve to pick up the phone and make first contact, and with that call and initial meeting thereafter, I became the official event photographer for WUSN-FM (US99), covering all their station sponsored concerts, I also photographed all their behind the scenes and meet and greets between 1997 and 1998. This opened a lot of doors that would have been left closed, if I had not taken that first step and believed I was good enough to be that guy in the pit, and why not me.



Wynonna Judd, Country Fest, 1997

Bryan White

Country Fest, Chicago, Il. 1997

Keith Urban

Lambs Farm, Libertyville, Il. 1997

Paul Brandt

Country Fest, Chicago, 1997

Road Stories: My First [Paid] Live Gig Pt. 1 of 2

Luther Allison, Chicago Blues Festival, 1995

I remember when I first started to develop a passion for shooting concerts, especially rock concerts, although I had no idea how to go about it. Sure, there were always some street festivals every summer, a lot of them bringing in some major talent along with the local scene, and lastly, there were the street musicians on about every street corner or subway stop. , and they were all easily accessible to anyone with a camera. The summer of 1994 was a turning point for me. I had spoken to almost every established photographer I knew about getting into music photography, and the response was always the same: I had to pay my dues. Though this never dawned on me exactly what dues were or what steps I needed to take to reach my goal.

I remember the summer of '94, I had steady work at the studio. Shooting headshots for aspiring models in and around town, it just so happened that a client had to reschedule an appointment, which left the whole day to myself. So, I decided to venture downtown to the 11th annual Chicago Blues Festival. It was a golden opportunity to engage in some street photography, which I thoroughly enjoyed.

One of the first things that caught my eye as I entered the event area that early morning was a relatively large white tent on the side of the Art Institute of Chicago. It was one of several vendors setting up for the day. It turned out to be legendary music photographer Paul Natkin setting up for a photo exhibition of his work.

Paul has worked with some of the most prominent artists in the music industry, including Ozzy Osbourne, The Rolling Stones, and Prince, among many others.

I introduced myself, telling Paul I was an aspiring music photographer and asked what should I do to “pay my dues”, and quite simply Paul told me to photograph everything, cover all genres of music and from there build a strong portfolio for bigger and better gigs, and always be professional and to respect other photographers in the pit, and always wait for your shot. That was some of the best advice I had ever received from anyone up to that point. And I always remembered that to this day.

Between 1994 and 1995, I was building my music portfolio, paying my dues. I had the honor of photographing Blues legend Luther Allison (pictured above) with the help of Alligator Records photographer Eugene Kimmons. Most of my blues images were made possible because he took me under his wing; he was a great mentor to me. Ted Hawkins (below) was the first step into music photography. I went into the festival as an observer, waiting for the right shot, though I had hit all the side stages that day, this one stood out for me., Mick Jones (B.A.D./co-founder of the Clash) was another show I did in 1995. My good friend Bert Masa and I decided to attend the Halsted Street Festival. We had just missed the band Better Than Ezra, but we were able to catch Big Audio Dynamite’s set. Yank Rachell and Jimmy Walker, the elder statesmen of the blues, were among the side stages I visited in 1995 at the Chicago Blues Festival. Blind Pig Records/Dellmark Records recording artist, the late great Eddie Campbell (pictured below), was another in the 1995 series of images I shot that helped pave the way for my next step forward into music photography.

Meet and greet with Ted Hawkins, Chicago Blues Festival, 1994.

Halsted street Festival, Mick Jones (Big Audio Dynamite), 1995

Jimmy Walker.(piano) and Yank Rachell (Mandolin) Chicago Blues Festival, 1995

The Unofficial Wedding Photographer

Cover Image By ©Sheena Pendley Design and Photography used with permission

After 20 years, I tied the knot one last time; 2nd time only in my lifetime. The ceremony was small, simple. A few close friends and family were in attendance. Everyone pitched in to make our day as close to perfect as possible.

I have participated as a “unofficial” photographer at a few weddings over the years, gifting my images to the newlyweds as seen in the 2 images below. So when it came to my own wedding it was no surprise I was to fill the roll as the “unofficial” photographer again, Though I was just as happy with a few smartphone images from our guest,

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So I set up my gear for a few intimate portraitures of my own of my bride and her family after the ceremony, with the exception of an extra extraordinary friend and fellow photographer we invited, Sheena Pendley, She provided images of all in attendance; We invited Sheena as a guest, as our friend, It was a huge surprise and an honor she provided us with such beautiful images, making herself the unofficial photographer as I have done in the past.

Following the 5 images I shot, I have provided 4 images (aside from Sheena’s cover image) , along with a link to her professional website and the Facebook link to the rest of the images from our wedding that she so kindly shot for us at the end of this photoblog…..Enjoy...

Our Wedding

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© Brian Cade Photography: Collective Works

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© Brian Cade Photography: Collective Works

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I wanted an image with my beautiful bride done with my lighting setup, so I handed my camera to my friend Tammy to get the shot.

Here are 4 sample images by photographer Sheena Pendley, her website and Facebook links are below.

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©Sheena Pendley Design and Photography used with permission

Facebook:

Sheena Pendley Design + Photography

Website:

www.sheenapendleydp.com

Derecho: Quinwood West Virginia 2012

If anyone were to ask me what I thought a "Derecho" was prior to 2012, I would have said a Quentin Tarantino  film. Like many, I had been through my share of weather events; Snow storms, Blizzards, Tornadoes, I remember the heatwave that hit Chicago in 1995 that contributed to over 700 heat related deaths. Through each event you think you're better prepared more over than the last one, you're not, you're really, really not. Cause we're all too busy living in the now in the moment. I do applaud the citizens of all the communities, small towns, and cities through the great state of West Virginia, we helped one another, and that is truly what living is all about.

More Power crews began to show up 10 days later to access the damage.

Mayor of Quinwood greets a member of the American Red Cross from the Kentucky division, soon after the power crews arrived..

The Red Cross was a welcomed site to many of the residents of West Virginia that were effected by the storm..

Pallets of water arrive per the National Guard.

Volenteers prepare meals furnished by the Red Cross.

Meals stand ready to be taken to those residents that could not make it to the quinwood fire dept

Pallets of water stand ready to be distributed to the residents.

Members of the American Red Cross getting ready to head out.

The last can of food is handed out before their departure.

I'm With The Band

The Smashing Pumpkins, a band called The Blind Venetians a  famous club called The Cabaret Metro in Chicago: This blog is dedicated to the memory of  Matt Suhar, Lead singer of the Chicago based band, The Blind Venetians.

The only concert I can remember I paid for in my life was the KISS Dynasty tour back in 1979, with opening act Judas Priest when they’d played at the Chicago’s Amphitheater on Chicago’s far south side. Come to think of it, I had never bought many physical albums or CD’s, most if not all in my collection from back in the day were promo copies sent out from the various record companies to the distributors weeks prior to their actual release dates,  those were just some of the perks working in the music industry, then there were the CD release parties and the concert tickets, any show and just about any venue.  The catch was you had to show up to these release parties, cause if your rep didn’t see your name crossed off the list the following day, well, don’t ask for anything else, well at least for a while.

I was supposed to have seen Guns n Roses at Alpine Valley in May of 1991, unfortunately I had to return those tickets to Geffen Records, guess I missed a few obscure release parties that year, but I was told later they overextended the tickets they had given to people, but the following year, oh yes, I was comped without asking and seen them live in Tinley Park with openers, Skid Row in the summer of 1991. again, These were just a few of the perks. From working in the music industry.

Which brings me to April 11, 1992.  This was a night to remember. Guns n Roses with supporting act The Smashing Pumpkins, at the Rosemont Horizon in Rosemont, Ill.  Smashing Pumpkins are set to open a sold out show for Guns n Roses on their last night at this venue. The Pumpkins hit the stage giving an electrified set, they ended there show with Billy Corgan taking his Mike stand and smashing one of many metal grates that made up parts of the stage; he created a pretty good size crater when he was done. Soon the lights were on and the wait for the main act begun, and we waited, and waited, and waited.

Then after what seemed an eternity all in attendance heard the announcement, that Guns n Roses would not be taking the stage and we were to exit the arena. Found out later that Axl Rose had a warrant for his arrest waiting for him, so he skipped out, leaving the packed house pissed off and cheated. Oddly I was not a bit phased by this, considering I seen them the year before.

The night was still young, so myself and some friends decided to hit up the Cabaret Metro, the famous rock club on the north side of the city in the Wrigleyville area, the same place the Gunners rented out the upstairs for 2 months while working on the very album they were touring 3 years prior. We had some friends that were playing a show there and we would just make it before their set time, as long as the Blue line train was on time, we were looking at just over an hour to travel back to Wrigleyville. This was to be the cap for our Saturday night.

Once we arrived and paid the cover; whatever that was, maybe around 8 bucks or so. We soon made our way to the upstairs portion of the club and found our friend Jimmy, we told him what had happened in Rosemont with the Gunners. he, in turn, told us his band, The Blind Venetians were to hit the stage as soon as the band currently playing finished their set. So we all made our way to one of the archways just left of the stairway that led to the main floor of the Metro to chat some and watch the band.

It wasn't soon after that, well you know that feeling you get when you know someone is standing right behind you, and 1 out of 10 there is not a soul nearby? Well, this was the 1 time my instincts were right, as I looked, there stood Jimmy Iha, the guitarist with the Smashing Pumpkins right behind us. Me never in my life a “fanboy” type stood there looking at him for a moment while at the same time tapping my friend Jimmy on the shoulder. 

Jimmy first looks at me then directly behind me, “Dude”! as the 2 greeted one another, the Jimmies knew one another, I believe they went to high school together, and like most bands that played the Metro, everybody knew everybody. My friend Jimmy asked Iha where the rest of the band were and soon I was hanging out with the Smashing Pumpkins and my friends in The Blind Venetians. What a way to cap off the night.